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ROGER FRY (BRITISH 1866-1934) TOWNSCAPE AND CHURCH, SEGOVIA, SPAIN Red chalk Signed and dated 1923 (lower left), titled (lower right) 32.5 x 44.5cm (12¾ x 17½ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present ownerLiterature: Roger Fry, A Sampler of Castile, Leonard & Virgnina Woolf Hogarth Press, London, 1923, reproduced plate 8 with the caption 'Segovia: S. Nicolas''Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read   Condition Report: Unexamined out of glazed frame. Very light undulation to the sheet. Otherwise no obvious significant condition issues. Condition Report Disclaimer

MARION RICHARDSON (BRITISH 1892-1946) BURNHAM MARSH, SCOLT HEAD, NORFOLK Gouache on card Signed with initials (lower right); signed and titled (to backing board) 25 x 28cm (9¾ x 11 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  

ROGER FRY (BRITISH 1866-1934) WOODED LANDSCAPE WITH HILLS BEYOND Oil on board Signed, dedicated and dated Marion Richardson/with best wishes for Christmas/1926 Roger Fry (verso) 20.5 x 26.5cm (8 x 10¼ in.)Provenance: Gifted to Marion Richardson, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: There is some light surface dirt and the work would benefit from a light clean. There are two tiny holes to the surface of the board at the centre and lower left, possibly original to the board before it was painted. Otherwise in good original condition with no evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

MARION RICHARDSON (BRITISH 1892-1946) SELF-PORTRAIT, AGED 17 Pencil 32 x 26cm (12½ x 10 in.)Drawn in 1910.Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present ownerLiterature: Marion Richardson, Art and the Child, London, 1948 (illustrated) Jessica Kilburn, Thomas Hennell: the Land and the Mind, London, 2021 (illustrated) 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: Unexamined out of glazed frame. Foxing scattered to the sheet throughout, most notable to the sitter's blouse and down the right side of the sheet. Otherwise no obvious significant condition issues. Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) THE ROUND TABLE Oil on canvas Signed and dated 1920 (lower right) 76 x 69.5cm (29¾ x 27¼ in.)Provenance: The Mayor Gallery, London Exhibited: London, Courtauld Institute Gallery, Portraits of Roger Fry, 18 September - 14 October 1976, no.22; this exhibition travelled to Sheffield, Mappin Art Gallery, 23 October - 21 November 1976 London, The Belgrave Gallery, Masters of Modern British Painting, 1977, no.1Literature:F. Birrell and D. Garnett, Some Contemporary English Artists, London, 1921, (Illustrated)R. Shone, Bloomsbury Portraits, London, 1976 (Illustrated plate 118, p. 197)R. Shone, The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant, London, 1999, p.205, fig.120D. Edwards, Winter Sonata, Virago Modern Classics, London, (front cover illustration)J. Rolls, The Bloomsbury Cookbook, London, 2014, p.232 (illus.) In the Spring of 1920, Roger Fry visited in Vence, staying at Maison Barrière with friends and fellow artists. Amongst this group were the sculptor Marcel Gimond and his wife Julie, both depicted in the present work. Gimond created a number of portrait busts of Fry in the early 1920s. An example of which is now held in London's National Portrait Gallery. The third figure present in Fry's painting, playing a guitar, is the illustrator and Post-Impressionist artist Sonia Lewitska. Lewitska was married to Fry's close friend Jean Marchand. Although present in a small oil sketch of the same scene he is not depicted in the present work. Fry admired Jean Marchand, including his work in both of his groundbreaking exhibitions held at the Grafton Galleries; Manet and the Post-Impressionists, 1910 and The Second Post Impressionist Exhibition, 1912.  Through their friendship Marchand became closely associated with the Bloomsbury Group and Fry even dedicated a whole chapter in his 1920 book of essays Vision and Design, observing his move away from cubism; "Having once learned by this process of willed and deliberate analysis how to handle complex forms, he has been able to throw away the scaffolding and to construct palpably related and completely unified designs with something approaching the full complexity of natural forms, through the lucid statement and ease of handling which it actuates testify to the effect of his apprenticeship in Cubism." (R.Fry, Vision and Design, London, 1920, p.282) Although Fry wrote this about the work of Jean Marchand one cannot help but feel that he could have had in mind his fellow Bloomsbury artists Vanessa Bell and Duncan Grant after only recently closing the doors on the Omega Workshop due to lack of funds. Condition Report: The canvas has been relined. Ultraviolet light reveals scattered retouching to the extreme edges consistent with the relining. Otherwise in good condition. Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) FLOWER PIECE Oil on canvas laid on board Signed (lower left) 51 x 41cm (20 x 16 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read   Condition Report: The paint surface is dirty and would benefit from a clean. There is a fine surface scratch to the lower centre left. In otherwise good original condition. There is no evidence of retouching visible under ultraviolet light.Condition Report Disclaimer

λ&nbspGRAHAM SUTHERLAND (BRITISH 1903-1980) PASTORAL Etching, 1930 Signed in pencil, dedicated to Marion Richardson With best wishes for Christmas/& love from Jane & Kenneth Clark and dated 1938 to backboard (verso) Image 12.2 x 19cm (4¾ x 7¼ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first things that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read     Condition Report: Stuck down to mounting board with tape to the upper corners. Some very light undulation to the lower margin. Some light staining running along the upper edge of the margin with a crease to the upper right corner. Image itself is in good original condition. Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) HOUSE BY THE WATER'S EDGE Ink Signed and indistinctly dated 15[?] (lower right) 23.5 x 35cm (9¼ x 13¾ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present ownerExhibited: London, The London Artist's Association 'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  Condition Report: Unexamined out of glazed frame. Overall fading throughout the sheet, most notable to the signature and date to the lower right corner. Otherwise no other obvious condition issues. Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) STILL LIFE OF A JAR, APPLES AND A CANDLESTICK HOLDER Oil on board Signed (lower right) 32.5 x 40.5cm (12¾ x 15¾ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read Condition Report: The paint surface is dirty and would benefit from a clean. There is some damage and associated paint loss to the edges and corners of the board. There is a surface scratch (approx 1.5cm long) to the lower left quadrant and some other further light surface scratches. There is no evidence of retouching visible under ultraviolet light. Condition Report Disclaimer

BRITISH SCHOOL (20TH CENTURY) STILL LIFE OF COFFEE POT, TUREEN AND DISH Oil on canvas 36 x 46cm (14 x 18 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  

MARION RICHARDSON (BRITISH 1892-1946) VILLAGE SCENE, SOUTH OF FRANCE Oil on board 33 x 41.5cm (12 x 16¼ in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  

MARION RICHARDSON (BRITISH 1892-1946) MARION RICHARDSON'S MOTHER, ELLEN RICHARDSON (NÉE DYER) Oil on canvas 40.5 x 35.5cm (15¾ x 13¾ in.) Unframed Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read    

BRITISH SCHOOL (20TH CENTURY) STILL LIFE OF APPLES AND PEARS Oil on canvas 41 x 51cm (16 x 20 in.)Provenance: Marion Richardson, Private Collection, British teacher and author on handwriting Thence by descent to the present owner'Through her discoveries in children's writing, writing-patterns and pictures she brought richness of life and colour into the lives of thousands of children.' Clarence Whaite, student of Marion Richardson, later lecturer at the Institute of Education. In 1947, "Athene," The Journal of the Society for Education in Art, dedicated a special edition to honour Marion Richardson (1892-1946). Notable patrons and advisory panel members of the Society for Education in Art included Duncan Grant, Henry Moore, Herbert Read, and Sir Kenneth Clark. Marion Richardson, a trailblazer in art education, significantly influenced the reformation of the education system, particularly in the teaching of art and handwriting for young children. Her collaborative work, "Writing and Writing Patterns," published by the University of London Press Ltd with support from Edward Johnston, a British craftsman, and calligrapher, became an integral resource in classrooms for both students and teachers.Richardson's academic journey at Birmingham School of Art, under the mentorship of Mr. Catterson-Smith, former assistant to Edward Burne-Jones and William Morris, propelled her innovative approach to teaching. Recognising the limitations of traditional teaching methods, Richardson and Catterson-Smith sought to develop practices that fostered imagination and visualisation in art as a form of practice. In 1912, Richardson achieved her Art's Master Certificate and was appointed as an art teacher at Dudley Girls' High School. 'The first thing that impressed me about Marion Richardson were her enthusiasm, freshness, drive and utter sincerity.' S. Frood, Former Headmistress of Dudley High SchoolMarion Richardson ardently believed that art served as a medium through which a child could articulate their individuality and emotions. Striving to depart from the conventional classroom approach that encouraged children to replicate objects, places, and people, Richardson emphasised a shift towards a more liberated and expressive engagement with art in school. She recognised that the freedom and expression cultivated through active involvement in artistic practices could significantly enhance a child's overall educational experience, positively influencing various aspects of their development. She actively encouraged children to embellish the school's upholstery, incorporating linocut designs for curtains and decorating scenery, furniture and costumes for school plays. Outside of school, Richardson pioneered reformative arts and crafts initiatives. Richardson led one of the first experiments in art therapy at Winson Green Prison in Birmingham. Initially collaborating with women, practicing drawing and painting, Richardson soon transitioned to working with young men. In response to favourable feedback she extended the teaching to include embroidery and other art forms. In 1917, Roger Fry became aware of Richardson's work and invited her to exhibit a group of her student's paintings and drawings at an exhibition held at the Omega Workshop in London, alongside established artists such as Duncan Grant and Vanessa Bell. In 1923, the Dudley children held an exhibition at the Independent Gallery, Grafton Street in London which proved extremely popular. This platform launched Richardson's career as a teacher of art and in 1930 she was offered position of lecturer at the London Day Training College. The friendship between Marion Richardson, Roger Fry and his sister Margery Fry, whom Richardson had initially met in Birmingham when Fry was warden to the women's residence, flourished and they are known to have holidayed together in France in 1925. The present collection of works by Roger Fry were all gifted to Richardson or purchased directly from Fry. Family records suggest that Richardson was regularly gifted works throughout her career most notably by Duncan Grant. This collection of works have remained with the family and are making their debut at auction. 'Unforgettable impression of beauty, devotion and freedom.' Herbert Read  

Alfred Wolmark, British/Polish 1877-1961 - Village in the countryside; oil on panel, signed lower right 'Wolmark', 29 x 39.5 cm (ARR) Provenance: Leighton Fine Art, Marlow; private collection, purchased from the above (by repute) Note: Wolmark was famed for his bold colour palette, influenced by French Modernism, and in an early exhibition in the 1910s at the International Society of Artists, his work was placed beside Vincent Van Gogh, as the only artist of comparable intensity. Wolmark exhibited at the influential 'Manet and the Post-Impressionists' exhibition at the Grafton Gallery in 1910, organised by Roger Fry. 

Charles Vilette, French 1885-1946 - Bois-Colombes, before 1912; oil on board, signed lower right 'C. Vilette', 53.9 x 72.9 cm Provenance: Roger Fry (according to the labels attached to the reverse); Pamela Diamond, by descent; private collection, gifted by the above  Exhibited: Grafton Gallery, London, 'Second Post-Impressionist Exhibition', October-December 1912 (according to the annotated label attached to the reverse) Note: the artist exhibited in pivotal exhibitions in the early 20th century, including 'Neue Kunst. Erste Gesamt-Ausstellung' at Hans Goltz, Munich in 1912 (alongside Gabriele Münter, Paul Cezanne and Vincent van Gogh), the 'Second Post-Impressionist Exhibition. British, French and Russian Artists' at the Grafton Galleries, London and 'The Grafton Group. Vanessa Bell, Roger Fry, Duncan Grant. Second Exhibition' at the Galleries of the Alpine Club, London in 1914. 

Robert Medley CBE, RA,British 1905-1994 - Interior with a Cello; oil on panel, 60.5 x 63.5 cm (ARR) Provenance: Pamela Diamond; private collection, gifted by the above Note: there is a typed label with artist's name, address and artwork title, along with another partial label that is handwritten with artist's name and artwork title. The previous owner of this painting, Pamela Diamond, was the daughter of Roger Fry. Medley was heavily influenced by he Bloomsbury Group in his early work and worked with Vanessa Bell and Duncan Grant between 1929 and 1934. This influence can be seen here in the warm palette and choice of a quiet interior scene. A related work is 'The Top Floor, 1929' now in the collection of Newport Museum and Art Gallery. Medley had a varied career and in the 1930s was particularly known for his work in leftist theatre, designing sets and costumes for plays by T. S. Eliot, Christopher Isherwood, Louis MacNeice and his earlier lover W. H. Auden. 

Duncan Grant, British 1885-1978 - Parrot Tulips, c.1957;  oil on board, signed lower right 'Duncan Grant', 56 x 38.4 cm (ARR) Provenance: with The Leicester Galleries, London (according to the label attached to the reverse); J. C. Greer, purchased from the above c.1957 (according to the label attached to the reverse); the Collection of Bernard Sheridan (1927-2007) and thence by descent Exhibited: The Leicester Galleries, London, 'Duncan Grant', 1st May 1957, no.37 (according to the label attached to the reverse) Note: this work was likely completed at Grant's home in Charleston, with a nude painting by the artist in the background. Grant used this compositional device of placing a still life in front of an image of a nude throughout his career, for example 'Mimosa, 1930' and 'Still Life with Matisse, 1971'. The wilting tulips echo the folds of the nude, creating a natural rhythmic quality to the work. The late 50s were important for the artist as a large retrospective of his work was held at the Tate in 1959. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. 

Alfred Wolmark, British/Polish 1877-1961 - Cyclamen, 1947; oil on panel, signed with monogram and dated lower left '47', 57.5 x 41.5 cm (ARR) Provenance: The Artist's Studio; The Belgrave Gallery, London; private collection Exhibited:  The Belgrave Gallery, London,  'Alfred Wolmark', 7th-29th November 1985, cat. no. 35 Note: Wolmark was famed for his bold colour palette, influenced by French Modernism, and in an early exhibition in the 1910s at the International Society of Artists, his work was placed beside Vincent Van Gogh, as the only artist of comparable intensity. Wolmark exhibited at the influential 'Manet and the Post-Impressionists' exhibition at the Grafton Gallery in 1910, organised by Roger Fry. 

Sackville West, Vita, 1945, Another World Than This, London: Michael Joseph, 247p, signed by the author; Mauron, Charles and Fry, Roger, 1927, Nature of Beauty in Art and Literature, London: Hogarth Press, Leonard and Virginia Woolf; Complete Catalogue of Books Published by the Hogarth Press 1917 to 1927 (3)

(Omega Workshops, Vanessa Bell, Roger Fry.) Jeremy Greenwood: 'Omega Cuts', Woodbridge, The Wood Lea Press, 1998, limited edition, number 1 of 105 copies of the special edition, 145,[2]pp, a collection of woodcuts and linocuts by artists associated with the Omega Workshops and the Hogarth Press forming a comprehensive study of the work of many important artists including Roger Fry, Vanessa Bell, Henri Gaudier-Brzeska, Duncan Grant, E. McKnight Kauffer, Dora Carrington, Edward Wadsworth and others, black and white illustrations and tipped-in colour plates throughout, folio (36 x 26cm), original quarter brown morocco, patterned paper covered boards (based on one of the Omega Workshops papers) with the accompanying separate portfolio of woodcuts 'Original Woodcuts by Three Artists', 10 full page woodcuts by Vanessa Bell, Dora Carrington and Roger Fry, printed from the original blocks owned by the Hogarth Press, also numbered 1 of 105, folio, original patterned wraps, housed together in original buckram solander box

Woolf (Virginia), five association copies from the library of one of her biographers, including Flush: A Biography, first edition, London: Published by Leonard and Virginia Woolf at The Hogarth Press, 1933, half-title, original publisher's cloth only, mottled, 8vo, Roger Fry: A Biography, first edition, third impression, The Hogarth Press, 1969, original publisher's dustjacket, chipped and slightly soled, cloth, 8vo, A Haunted House, and Other Short Stories, first American edition, New York: Harcourt, Brace and Company, 1944, cloth, 8vo, The Death of the Moth, and Other Essays, first edition fifth impression, The Hogarth Press, 1947, cloth, 8vo, [&] Night and Day, first edition, sixth impression, The Hogarth Press, 1950, cloth, 16mo, with two further Hogarth Press imprints, Woolf (Leonard), Imperialism and Civilization, first edition, 1928, ffep and verso of title-page with ex-lib stamps, original cloth only, traces of shelf numbering to base of spine, 8vo, [&] Blunden (Edmund), Nature in English Literature, first edition, 1929, original cloth only, somewhat soiled, 8vo, (7)  Provenance: from the library of Roger Poole (1939-2003), literary theorist and man of letters, authority on Virginia Woolf and Kierkegaard, author of 'The Unknown Virginia Woolf ' (first published 1978).

Strachey (Julia). Cheerful Weather for the Wedding, uncorrected proof, London: Hogarth Press, 1932, ink annotations and corrections, R. & R. Clark Ltd, Edinburgh ink stamps and 'First Proof' stamps, contemporary morocco-backed boards, spine ends chipped, 8vo, together with An Integrated Man, uncorrected proof, London: John Lehman, 1951, a few ink corrections, original wrappers with publisher's label to upper wrapper, tear and loss at spine ends, a little toned, 8vo, plus Fry (Roger). A Sampler of Castile, London: Hogarth Press, 1923, 16 monochrome illustrations, endpapers toned, previous owner signature of Lawrence Gowing, original illustrated boards, some toning and light edge wear, 4to, limited edition 6/550, with others, Hogarth Press etc, including, Art and Commerce, by Roger Fry, Hogarth Press, 1926, Afterthoughts, by Logan Pearsall Smith, 1931 (limited edition of 100), The Man on the Pier, by Julia Strachey, 2nd impression, 1951, plus an album of photographs belonging to Julia Strachey, circa 1916 and later, with numerous family photographs loose and mounted, with a copy typescript poem of 'The Sluggard's Quadrille and Other Remains of Stephen Tomlin' loosely inserted QTY: (17)NOTE:Small archive of books and photographs belonging to the writer Julia Strachey (1901-1979), the niece of Lytton Strachey, and was associated with the Bloomsbury Group through him. She married the sculptor Stephen Tomlin in 1927, and after they separated in 1934 she married artist and critic Lawrence Gowing, in 1939.Her most famous novel was Cheerful Weather for the Wedding, in 1932, of which Virginia Woolf remarked 'I think it astonishingly good - complete and sharp and individual'.

Roger Eliot Fry (British 1866-1934): 'Still Life', pen and ink unsigned c.1918, 36cm x 23cm Provenance: private collection, purchased The Bloomsbury Workshop, Galen Place, London, label verso

EDEN, Anthony (1897-1977), 1st Earl of Avon - Books annotated by, or otherwise associated with, Anthony Eden. Please see the full listing below. Sold not subject to return. (c.60)EDEN, Anthony (1897-1977), 1st Earl of Avon - Books annotated by, or otherwise associated with, Anthony Eden (arranged chronologically) - L. J. TROTTER. Rulers of India. The Earl of Auckland, Oxford, 1893, 8vo, cloth, annotated and underlined in black or red ink throughout [probably not by Eden], bookplate [please see the note regarding bookplates at the end of this lot], J. W. FORTESCUE. The Story of a Red-Deer, London, 1904, 4to, cloth, SIGNED in crayon, "Robert Anthony Eden 1906", and again with initials, bookplate; D. S. MARGOLIOUTH. Mohammed and the Rise of Islam, London, 1905, 8vo, buckram, with some annotation and highlighting by Eden, bookplate; A. F. HORT. The Gospel According to St Mark. The Greek text Edited with Introduction and Notes for the Use of Schools, Cambridge, 1907, 8vo, cloth, SIGNED & INSCRIBED "R. A. Eden, March 1914, Eton College, Windsor" on the front pastedown, with Eden's copious schoolboy annotation to the Greek text; Gustave MERLET (editor). Anthologie Classique des Poètes du XIXéme Siècle, Paris, [n.d.], 8vo, boards, SIGNED "R. A. Eden, [?]E.J.C., Oct. 17th 1914" [the day on which Anthony's older brother, John, was killed in action] and with 2 further dates added in ink, on p.162, "16/6/15" and on p.338 "30th June 1915"; G. E. MITTON. The Lost Cities of Ceylon, London, 1917, 8vo, cloth, with sparse annotation and highlighting, bookplate; Rupert BROOKE. 1914 & other Poems, London, 1918, 8vo, cloth, "Twenty-fourth Impression", bookplate; James BRYCE. Modern Democracies, London, 1921, 2 vols., 8vo, cloth, SIGNED "R. Anthony Eden, Mulberry Walk, Sept, [illegible year]" on front free endpaper, with occasional outspoken annotation by Anthony Eden, for example, on p.135 in vol. one: "!!!Too proud to fight! The worst soldiers ever seen -" and some highlighting to text, bookplate; Anatole FRANCE. Vie de Jeanne d' Arc, Paris, [1921], 2 vols., large 8vo, hessian, wrappers bound in, wrappers signed "R. Anthony Eden, Jan. 18, 1923", with some highlighting mainly to the beginning of vol. one, and an envelope, inscribed by Eden, loosely-inserted, indicating a highlighted quote on p.xxi of the book (the printed passage reading, "Au long d' interminables guerres, la misère et l' ignorance avaient appauvri les esprits et réduit l'homme à une extrême maigreur morale"), with some other notes, bookplate; Maurice PALEOLOGUE. La Russie des Tsars pendant La Grande Guerre, Paris, 1921-23, reprints, 3 vols., 8vo, later buckram, wrappers bound in, wrappers signed "R. Anthony Eden, 1923", and with some highlighting, bookplate; Chateaubriand's Atala [and 2 other works], Vienne, [n.d.], 8vo, boards, SIGNED "R. Anthony Eden, June 5th, [?]1923" on the front pastedown, with emotional printed passages on pp.109-113 highlighted; Lytton STRACHEY. Landmarks in French Literature, London, 1923, 8vo, cloth, with some sparse annotation and highlighting, bookplate; Essays of To-Day and Yesterday. Augustine Birrell, London, 1926, 8vo, original wrappers, the half title with an autograph quotation in ink, possibly in Eden's hand, of the words from "As I Sat Under a Sycamore Tree", inscribed at the foot, "To Goonie [i.e. Lady Gwendeline Spencer-Churchill], Christmas Day, 1926, A. [?]E"; Charles Mauron. The Nature of Beauty in Art and Literature ... Translation and Preface by Roger Fry [upper cover: Hogarth Essays. Second Series], London, The Hogarth Press, 1927, 8vo, original boards decorated by Vanessa Bell, upper board detached, with annotation and highlighting throughout; Henry TAYLOR. The Statesman. An ironical treatise on the art of succeeding, London, 1927, "Reprint Series No. 2", 8vo, cloth, with highlighting throughout, bookplate; Frederick Morton EDEN, 2nd Baronet. The State of the Poor, London, 1928 [but first published in 1797], 8vo, cloth, SIGNED "Anthony Eden 1950"; Langhorne GIBSON & J. E. T. HARPER. The Riddle of Jutland. An Authentic History, London, 1934, large 8vo, folding maps in a pocket at the end, buckram, SIGNED in pencil by Anthony Eden on the front free endpaper, with his annotation on p.335 and some highlighting [Midshipman Nicholas Eden, Anthony Eden's brother, was killed at the Battle of Jutland in 1916], bookplate; Charles HARRINGTON. Plumer of Messines, London, 1935, 8vo, plates and maps, cloth, with some annotation on wartime experiences and highlighting; R. B. MOWAT. Europe in Crisis, London, 1936, 8vo, frontispiece portrait of Anthony Eden, cloth, without annotation, bookplate; Siegfried SASSOON. Sherston's Progress, London, 1936, 8vo, cloth, with Anthony Eden's old armorial bookplate heavily-annotated in pencil indicating colours for "Burke's Peerage, DeBrett" (written in pencil above), and with some sparse annotation and highlighting to the text of the book itself; R. B. MOWAT. The Fight for Peace, London, 1937, 8vo, cloth, with typed compliment slip from the author loosely-inserted, and inscribed by Eden on the front free endpaper, "A friendly book. A. E." but without any further annotation or highlighting; George Macaulay TREVELYAN. Grey of Fallodon, London, 1937, 8vo, cloth, with Eden's annotation and highlighting and a loosely-inserted empty envelope inscribed by Eden on the outside, bookplate; F. Elwyn JONES. The Battle for Peace, London, 1938, 8vo, uncorrected proof copy, wrappers, with Eden's highlighting throughout including, on p.[65] to a printed quotation from a speech made by Hitler in Munich in 1936 in which he (Hitler) stated, "I do not believe there can be peace among the nations until they all have the same law and system of law. That is why I hope that National Socialism will one day extend over the world. This is no fantastic dream, but an achievable object" and again to a printed passage by the author on p.197: "For Hitler's aim is not primarily 'ideological', however much he insists on this in his speeches. Hitler's real aim is a Greater Germany which will dominate Central and South-East Europe"; Johannes STEEL. The Truth About Munich ... A Collection of Broadcasts Given Recently on Station WMCA, New York, 1938, 8vo, stapled (lacks wrappers), with one passage highlighted by Eden; W. MACNEILE DIXON. The Human Situation, London, 1938, 8vo, cloth, reprint, with some annotation by Eden including on p.98 a comment on the German massacre of civilians at Dinant in 1914, "Yes - I saw some of this evidence myself" and highlighting, bookplate; Anthony EDEN. Foreign Affairs, London, 1939, 8vo, cloth, with Eden's sparse annotation and highlighting; Documents concerning German-Polish Relations and the Outbreak of Hostilities Between Great Britain and Germany on September 3, 1939, London, "His Majesty's Stationery Office", 1939, 8vo, wrappers, without annotation; Duff COOPER. The Second World War. First Phase, London, 1939, 8vo, cloth, with Eden's single correction to a year on p.195 (from 1937 to 1938) and one passage of Duff Cooper's printed text quoting his own (Cooper's) article highlighted by Eden on p.207 ("Germany and Italy under their present rulers are determined to dominate by force the whole continent of Europe. If there is a man living who still doubts that fact he should lose no time in consulting a mental specialist"); L. RASKAY. How They Did It. Life Stories. Anthony Eden, London, Pilot Press Ltd., 1939, square 8vo, wrappers, second impression; Thomas MANN. This War, London, 1940, 8vo, cloth, with Eden's annotation and highlighting; Isaiha BERLIN. Karl Marx. His Life and Environment, London, 1939, 8vo, cloth, signed "Clarissa S. Churchill"; Anthony Eden. Address to the Maryland General Assembly, Annapolis, Marsh 26th, 1943, [?Annapolis, 1943], 12mo, wrappers; Your M.P. by Gracchus, London, Victor Gollancz, 1944, 8vo, cloth, dust-jacket, with a printed record of Eden's important votes in...

Duncan Grant, British 1885-1978 - At the Easel (Janie Bussy), 1956;  oil on paper, signed and dated lower left 'D Grant /56', 62.4 x 44.5 cm (ARR) Provenance:The Bloomsbury Workshop, London, 1993 (according to the label attached the reverse of the frame); The Harris Collection, USA and thence by descent Note:in correspondence from Tony Bradshaw of the Bloomsbury Workshop, the lady depicted painting at an easel is Janie Bussy, daughter of the artist Simon Bussy and his wife Dorothy, Lytton Strachey's elder sister. Janie Bussy was born and brought up in France, but she spent time every year at Charleston and exhibited her still life paintings at the Lefevre Gallery in London. Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. 

Alfred Wolmark,  British/Polish 1877-1961 - Still life with flowers;  oil on canvas, signed with monogram lower left, 54 x 65.2 cm (ARR)  Provenance:  Galerie Bonaparte, Menton (according to the stamp on the reverse of the stretcher);  private collection, purchased from the above  Note:  Wolmark was famed for his bold colour palette, influenced by French Modernism, and in an early exhibition in the 1910s at the International Society of Artists, his work was placed beside Vincent Van Gogh, as the only artist of comparable intensity. Wolmark exhibited at the influential 'Manet and the Post-Impressionists' exhibition at the Grafton Gallery in 1910, organised by Roger Fry. 

Duncan Grant, British 1885-1978 - Composition, 1966; oil on canvas board, signed with initials, dedicated and dated lower left 'DG for Desry / 66', 25.2 x 24.3 cm (ARR) Provenance: with Jill Newhouse Gallery, New York (according to the label attached to the reverse of the frame); The Harris Collection, USA and thence by descent Note: Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh.  

Lots 58-64 The Harris Collection - Duncan Grant, British 1885-1978 - Abstract composition, 1965; gouache and biro on paper, 26.1 x 11.1 cm (ARR) Provenance: Richard Shone, gifted by the artist;  with The Bloomsbury Workshop, London (according to a copy of the original invoice);  private collection, USA, purchased from the above on the 3rd November 2004 and thence by descent Note:Duncan Grant was a central member of the Bloomsbury Group, closely associated with seminal figures in early 20th century British culture such as Virginia Woolf, Vanessa Bell, E.M. Forster and Lytton Strachey, alongside the art critic Roger Fry, the latter having a particularly strong impact on Grant's artistic approach. Grant's works can be found in a wide number of collections throughout the country, including the Tate Britain and the V&A in London, the Ashmolean Museum in Oxford and the Scottish National Gallery of Modern Art in Edinburgh. 

Roger Fry (1866-1934) - Oil painting - "Studies San Tropez 1921", board 12ins x 7.5ins, framed and glazed Provenance: The Bloomsbury Workshop, 12 Galen Place, London This work has not been inspected out of its frame. There is some light scattered foxing but otherwise the work appears to be in reasonably good condition.

Roger Fry (1866-1934) - Ink - "Church at Etaples" - Interior with figures, signed and dated '29, 13.75ins x 9.5ins, framed and glazed Provenance: The artist's family and thence the Bloomsbury Workshop, 5 Pied Bull Court, Galen Place, London There is some slight discolouration to the paper.  However apart from this the lot appears to be in good overall condition with no obvious damage loss or restoration. 

Vanessa Bell (British, 1879-1961)The Turkish Box signed and dated 'V Bell 1934' (lower right)oil on canvas61 x 73.5 cm. (24 x 29 in.)Footnotes:ProvenanceWith The Adams Gallery, LondonSale; Bonhams, London, 16 November 2011, lot 108, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, The Adams Gallery, Vanessa Bell Memorial Exhibition, 6-27 October 1961 (catalogue untraced)The Turkish box in the present work is still at Charleston and is thought to have been a gift to Duncan Grant from his aunt Daisy McNeil, perhaps before the First World War. Bell had visited Turkey in 1911, traveling with Roger Fry, whose unexpected death in September of 1934 coincides with the execution of the present work. This late summer still life would have been painted at Charleston and shows some of the seasonal fruits grown in the garden. The glass on the left holds three zinnias, a flower Vanessa Bell regularly planted at the house.We are grateful to Richard Shone for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

An Omega Workshops pottery vase probably by Roger Fry, swollen cylindrical form, covered to the foot with a pale lavender glaze, impressed omega mark to base, minor glaze loss, 10cm. high

SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945) Sir William Rothenstein (lots 1-13) and Albert Rutherston (lots 14-23)IntroductionRaised in Bradford as two of six children of Jewish immigrants, William and Albert both achieved considerable influence at the very heart of the British art establishment. Amongst their many and remarkable strengths they were painters, printmakers, illustrators, teachers, administrators, gallerists and, in William’s case, an accomplished and prolific writer. William was the first to move south to study under Alphonse Legros at the Slade (1888-89) before attending the Académie Julian in Paris (1889-1893) (lots 1-8), where he was encouraged by Whistler, Degas and Toulouse-Lautrec and befriended Rodin. Albert followed him a decade later to the Slade, where by then Fred Brown was professor, assisted by Henry Tonks, Philip Wilson Steer and Walter Russell. The youngest student by far, Albert fell in with a gilded set of like-minded spirits, in particular Augustus John and William Orpen. The young trio was dubbed by William ‘The Three Musketeers’. Albert went on to win separate prizes for both drawing and painting and was awarded a Slade scholarship. On his return from France William established himself as a talented portraitist illustrating Oxford Characters in 1896 with twenty-four lithographs. It was one of several collections of portraits depicting men and women of distinction that William would produce. In 1900 William’s painting The Dolls House (after Ibsen’s eponymous play), won a silver medal at the Exposition Universelle in Paris, the same year as his book on Goya was published. Such foreboding influences, however, contrasted with the many happy and light-filled works he produced following his marriage to Alice Knewstub in 1899. (lots 9 & 10). For Albert and his fellow ‘Musketeers’ the new century heralded trips to France. There he met Walter Sickert and shared holidays with William, Spencer Gore and Slade teacher Walter Russell. In London Albert thrived on Fitzroy Street and exhibited with William, Sickert, Gore, Russell and Harold Gilman. Sickert recalled their efforts ‘to create a Salon d’automne milieu in London’. Towards the end of the 1910s Albert turned increasingly to decorative designs. In 1911 he collaborated with Roger Fry on large scale murals for Borough Polytechnic (lot 20) and worked on a number of designs for the ballet and theatre (lots 14-16). He changed his name to Rutherston in 1916. After the War he married Marjory Holman, taught at Camberwell School of Art, and the Oxford School of Drawing, Painting and Design, and was appointed Master of the Ruskin School of Art (1929-49). A late but important influence in his life was the young model Patricia Koring whom he met in 1938. From the First World War on William’s work revolved around painting, teaching and writing. During 1917-18 he spent six months as an official War artist at the Front (lot 12), and was briefly visiting Professor of Civic Art at Sheffield University. In 1920 he became Principal of the Royal College of Art in London and was knighted in 1931. As well as Goya, among William’s publications were three fascinating volumes of memoirs. William’s sons carved out their own influential paths in the Arts. John (1901-92) his eldest, became director of the Tate Gallery (1938-1964), wrote Modern British Painters (1956) and was knighted in 1952. Michael (1908-1993) became a highly accomplished painter and print maker (lots 24-30).SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945)PROFILE OF PAUL GERVAISinscribed P Gervais lower right charcoal with white chalk36.5 x 23cm; 14 1/4 x 9in41.5 x 34cm; 16 1/4 x 13 1/4in (framed)Executed in Paris circa 1890. The painter Paul Gervais (1859-1944) was a teacher at the Académie Julian where Rothenstein studied from 1889-1893. A pupil of Jean Léon Gérôme, Gervais was known, and occasionally rebuked, for his depictions of sensuous nudes. Prominent commissions included Les Graces Florentines for La Salle Blanche in the Casino de Monte-Carlo and the Salle Empire in the Hôtel de Paris, Monte-Carlo.

λ&nbspDUNCAN GRANT (BRITISH 1885-1978) A PAINTED TABLE The central roundel painted with stylised flowerheads and leaves within simulated marble and green borders 65 x 49.5 x 49.5cm (25½ x 19¼ x 19¼ in.) The present work most likely dates from the 1940s or 1950s. See next lot for the design for the roundel. Grant's interest in the decorative arts began very early in his career and became an integral part of his artistic output. In 1913, he co-founded The Omega Workshops along with Roger Fry and Vanessa Bell with the aim of breaking down the barriers between so-called fine and decorative art and bringing art into everyday life. So began Grant's long association with design and decoration. As well as fuelling the imagination, Omega provided an alternative source of income for many artists of the day, particularly fellow members of the Bloomsbury Group, including Virginia Woolf, Clive Bell and Ethel Sands. Omega produced a wide range individually designed and produced items ranging from furniture, ceramics, murals, stained glass and textiles. Although The Omega Workshops closed in 1919 due to financial troubles, Grant's interest in the decorative arts was now firmly part of his artistic oeuvre. In 1918, along with Edward Wolfe, he was commissioned by John Maynard Keynes to decorate the doors, fireplace and shutters of the first floor sitting room at 46 Gordon Square. Again in 1920, Keynes commissioned Grant, this time alongside Vanessa Bell, to produce eight panels for his residence at Webb Court, King's College, Cambridge. When Vanessa Bell rented Charleston farmhouse in East Sussex in 1916, the house and its interiors become a canvas on which Grant and Bell could express their creativity. Tables, chairs, bookcases, walls, lampshades, headboards - all became covered with the inimitable swirling designs of the two artists. The present table and associated design (lot 103) most probably date from the 1940s or 1950s and demonstrate Grant's continued interest in furniture design into later life. We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Please see lot 103 - the design for this table top.There are abrasions, nicks and craquelure across the paint surface on the table top commensurate with age and use. There are isolated areas of paint separation to the surface and general surface dirt. Some of the blocks to the underside of the table.Please see the additional condition report photographs as a visual reference of condition.Condition Report Disclaimer

λ&nbspDUNCAN GRANT (BRITISH 1885-1978) DESIGN FOR ROUNDEL Pencil and watercolour 46.5 x 46.5cm (18¼ x 18¼ in.) Grant's interest in the decorative arts began very early in his career and became an integral part of his artistic output. In 1913, he co-founded The Omega Workshops along with Roger Fry and Vanessa Bell with the aim of breaking down the barriers between so-called fine and decorative art and bringing art into everyday life. So began Grant's long association with design and decoration. As well as fuelling the imagination, Omega provided an alternative source of income for many artists of the day, particularly fellow members of the Bloomsbury Group, including Virginia Woolf, Clive Bell and Ethel Sands. Omega produced a wide range individually designed and produced items ranging from furniture, ceramics, murals, stained glass and textiles. The present lot is a pencil and watercolour design for Lot 102, as a preliminary design for the painted table top. We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Executed on cream wove paper, not laid down. A repaired tear to the centre of the lower edge, approx 2cm long.. The upper right corner and right hand edge with restored tears and creases. There are creases running through the centre of the work, both horizontally and vertically where the sheet appears to have been folded into quarters in the past. Further creasing to the sheet throughout, notably to the upper right corner. There is staining and smudging throughout, in particular two brown stains to the lower right quadrant and grey smudging, most probably original to the work, to the centre circle. Framed under glass.Condition Report Disclaimer

ROGER FRY (BRITISH 1866-1934) VIEW OF A WOMAN IN AN INTERIOR Oil on canvas Signed (lower right) 61 x 76cm (24 x 29¾ in.)Painted circa 1919.We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Relined. Very small loss to the lower left corner revealing the reline. Some very fine patches of craquelure scattered throughout. Inspection under UV reveals no obvious evidence of restoration or repair. Appears to be in good original condition. Condition Report Disclaimer

Alfred Wolmark, British/Polish 1877-1961 - North End, Old Hampstead; oil on panel, signed, tiled and inscribed on a sheet of paper attached to the reverse 'Alfred A Wolmark Old Hampstead (destroyed in 1940)', 36.2 x 26.2 cm (ARR) Provenance: Christie's, March 1985 (according to the label attached to the reverse); Louise Kosman, Edinburgh; private collection Note: Wolmark was famed for his bold colour palette, influenced by French Modernism, and in an early exhibition in the 1910s at the International Society of Artists, his work was placed beside Vincent Van Gogh, as the only artist of comparable intensity. Wolmark exhibited at the influential 'Manet and the Post-Impressionists' exhibition at the Grafton Gallery in 1910, organised by Roger Fry. Wolmark has been referred to as the 'father' of the Whitechapel Boys. He was the only artist to be included in both the Whitechapel Art Gallery's 1906 'Jewish Art and Antiquities Exhibition' and in David Bomberg and Jacob Epstein's 'Jewish Section' at the 1914 exhibition 'Twentieth-Century Art: A Review of Modern Movements'.

A group of 31 signed theatre programmes, most of which have multiple autographs (dedicated) - to include Alec Guinness, Edward Herrmann, Elizabeth Taylor, Jim Steinman, Judi Dench, Helen McCory, Bill Nighy, Maggie Smith, Margaret Tyzack, Mark Rylance, Imelda Staunton, Trevor Peacock, Matilda Ziegler, Simon Russell Beale, Michael Gambon, Cheryl Campbell, Roger Lloyd Pack, Stephen Fry, Sarah Berger, John Gordon Sinclair, Paul Mooney, John Sessions, Shirley Anne Field, x2 Alison Steadman, Helen Mirren, Anne-Marie Duff, Ralph Fiennes, Madge Allslop, Barry Humphries, Ken Dodd, Angela Lansbury, Rupert Graves, Rachel Weisz, Donald Sutherland, John Rubinstein, Leo McKern, Dawn French Danny DeVito, Richard Griffiths, Denholm Elliot, Glenda Jackson, Nigel Hawthorne, Jack Lemmon, Michael Gambon, Robert Flemying, Charlton Heston, Lydia Clarke Heston, Donald Pleasence, Colin Firth, Peter Howitt, Albert Finney, Tom Courtenay, Ken Stott, Alan Bates, Nickolas Grace , Georgina Hale, Kristin Scott Thomas, Bob Hoskins, Emma Fielding, Adam Godley, Lindsay Duncan, Alan Rickman, Gene Wilder, Timothy Ackroyd, Peter O'Toole, Anne Reid, x2 Rik Mayall, Angela Thorne, Paul Eddington and many more (a full list of all the signatures is not available) (Q)

Circa 150 theatre programmes, to include approximately 55 signed - several of which have multiple autographs, to include Tom Conti, Jenny Seagrove, Peter Bowles, Deborah Grant, Caroline Langrishe, Kim Cattrall, Matthew Macfadyen, David Haig, Malcolm Sinclair, Gina Bellman, Peter Vaughn, Timothy West, Kevin Whately, Tim Healy, Robert East, Maurice Kaufmann, Stephen Fry, Belinda Lang, John Gordon Sinclair, Jonathan Coy, Joanna Page, Linda Baron, Susie Blake, David Horovitch, Roy Hudd, Sam Kelly, Maureen Lipman, Simon Rouse, Richard McCabe, Lee Evans, Sheila Hancock, Keely Hawes, Niall Buggy, Celia Imrie, Michael Feast, David Burt, Simon Dutton, David Suchet, Sara Stewart, Tom Courtney, Ian McKellen, Kim Cattrall, Ennio Maarchetto, Paul Morocco, Howard Goodall, Jane Horrocks, Stephen Poliakoff, Peter Davison, Peter Egan, Roger Lloyd Pack, Ray Winstone, Nigel Lindsay, Phill Daniels, Hayley Mills, Zoe Wanermaker,Steven Pemberton, Harry Shearer, Maureen Lipman, Oliver Cotton, Alex Bourne, Miranda Hart, Samantha Bond, Edward De Souza, Trevor Peacock, Ron Cook, Trevor Eve, Matilda Ziegler, Tim McInnery, Jonathan Hyde, Alan Bates and many more (a full list of all the signatures is not available) (150+)

Ruda (Jeffrey) Fra Filippo Lippi. Life and Work with a Complete Catalogue, Phaidon, 1993 § Clayton (Timothy) The English Print 1688-1802, jacket with faint surface scuffs, Yale University Press, 1997 § Fry (Roger) Transformations, Critical and Speculative Essays on Art, cloth slightly toned, jacket with light toning or soiling, some tears and chips, 1926, all with profuse illustrations, including in colour, the first mainly so and whole page, original cloth, dust-jackets; and a quantity of others art reference, mainly European pre 20th century, v.s. (qty)

Omega Workshops; Arthur Clutton-Brock & Roald Kristian (ill.): 'Simpson's Choice: An Essay on the Future Life', London, Omega Workshops Ltd., 1915, 1st edition, limited to 500 copies only, 3 full-page wood-engraved illustrations, numerous head and tail-pieces, and decorative opening initials by Roald Kristian as called for, printed under the direction of J.H. Mason, 4to, original cloth backed pictorial paper covered boards. The Omega Workshops was a design enterprise founded by members of the Bloomsbury Group in July 1913, with the intention of providing graphic expression to the essence of the Bloomsbury ethos. The Workshops was also closely associated with the Hogarth Press, with Roger Fry, Duncan Grant, and Vanessa Bell as its directors. Wyndham Lewis was also initially part of the operation, and whilst Fry was keen to encourage a Post-Impressionist influence in designs produced for Omega, Cubist and Fauvist influences are also apparent, particularly in many of the textile designs. Unfortunately Omega Workshop was short-lived and closed down in 1919, 'Simpson's Choice' was the first work to be published at the Omega Workshop, and was to be one of only four books completed by the Press.

Roger Fry (1866-1934) Two plates from Scenes of the French Countryside, 1928 lithographs (2) 13 x 18cm.

Grant (Duncan), Francis Birrell & David Garnett. Some Contemporary English Artists, first edition, faint spotting, original wrappers, upper cover detached, frayed and rubbed at extremities, spine defective, 1921; British Artists of Today: Duncan Grant, first edition, ownership stamp and book-label on front free endpaper, original boards, lightly browned, 1927; and 6 others, including 5 detached book covers with Roger Fry's ownership name and another work by Fry, v.s. (8)⁂The first has a cover designed by Duncan Grant for a group exhibition held at Birrell and Garnett Bookshop, 19 Taviton Street, London, in 1921. The shop was run by Francis Birrell and David Garnett, both lovers of Duncan Grant's, until 1924.

Hogarth Press including Woolf, Virginia; Fry, Roger; Forster, E M., et al., a collection of 1st edition volumes 1926 to 1934, Walter Sickert: a Conversation by Virginia Woolf, Hogarth Letters 1, 2 and 5, Letter to Madan Blanchard, Letter to an MP on Disarmament (Viscount Cecil), Letter from a Black Sheep (Francis Birrell), Art and Commerce, London: Leonard and Virginia Woolf, Hogarth Press (7)

Attributed to Roger Elliot Fry (1866-1934)/Portrait of Gerald Widdrington/dated 1894/oil on canvas, 61cm x 52cm CONDITION REPORT: Generally good condition overall, with some areas of craquelure and surface marking. The canvas does not appear to have been relined. Inscribed with artist's name and title to stretcher.

FORSTER, E. M. (1879-1970). The Celestial Omnibus and other Stories, London, 1911, square 8vo, original decorated cloth and endpapers designed by Roger Fry. With 14 other works in 15 vols. (16)FORSTER, E. M. (1879-1970).  The Celestial Omnibus and other Stories. London: Sidgwick & Jackson Ltd., 1911. Square 8vo (184 x 135mm). Half title, printer's woodcut ornament, 3-pages of publisher's advertisements at the end (some faint browning at gutters). Original grey decorated cloth gilt and grey pictorial endpapers designed by Roger Fry (corners lightly rubbed). The book was issued without a dust-jacket. Provenance: Anthony Eden, 1st Earl of Avon (modern armorial bookplate loosely-inserted). A FINE COPY OF THE FIRST EDITION of the author's first collection of short stories. Other copies are recorded with 4-pages of advertisements at the front, rather than with 3-pages at the end, as here. Bleiler Supernatural Fiction p.75; Kirkpatrick A5a. With 14 other works in 15 volumes, namely Charles J. Darling's Scintillae Juris ... With Frontispiece and Colophon by Frank Lockwood ... Fourth Edition (Enlarged) (London, 1889, 8vo, original parchment wrappers printed in red and black, NUMBER 72 OF 75 "LARGE PAPER" COPIES), George Meredith's Jump to Glory Jane ... Edited and Arranged by Harry Quilter (London, 1892, 8vo, plates and illustrations by Lawrence Housman, one plate detached, original pictorial paper boards by Housman, FIRST EDITION, ONE OF 1,000 COPIES), Dante Gabriel Rossetti's The Poems ... With Illustrations from his own Pictures and Designs. Edited with an Introduction and notes by W. M. Rossetti (London, Ellis & Elvey, 1904, 2 vols., 4to, plates by Rossetti, original parchment-backed buckram boards gilt), Edgar Saltus's Vanity Square. A Story of Fifth Avenue Life (Philadelphia, 1906, 8vo, original yellow pictorial cloth, FIRST EDITION, inscribed, "Anthony from Mummie, Feb. 1923", old armorial bookplate of Anthony Eden), Aldous Huxley's The Defeat of Youth & Other Poems (Oxford, Blackwell, 1918, 8vo, original green decorated wrappers, FIRST EDITION of the author's third book), Ronald Firbank's Santal (London, Grant Richards Ltd., 1921, original mauve wrappers with blue crescent, FIRST EDITION), Le Diable Amoureux, Nouvelle Espagnole (Paris, chez Camille Bloch, 1921, 8vo, etched plates by J.-E. Laboureur, original wrappers with printed label on upper wrapper, NUMBER 321 OF 575 COPIES), Francis Bacon's Essayes. Religious Meditations. Places of Perswasion & Disswasion (London, 1924, "The Haslewood Books", 8vo, initials and ornaments, original parchment boards, dust-jacket, NUMBER 253 OF 975 COPIES, book label of Clarissa Churchill printed in red, not found anywhere else in this collection [illustrated]), John Clare's Madrigals & Chronicles Being newly found Poems ... Edited with a Preface and Commentary by Edmund Blunden (London, The Beaumont Press, 1924, 8vo, illustrations by Randolphe Schwabe, original buckram-backed decorated paper boards, NUMBER 377 OF 398 COPIES, old armorial bookplate of Anthony Eden), D. H. Lawrence's Glad Ghosts (London, 1926, 8vo, original wrappers, "second impression"), Dylan Thomas's Twenty-Five Poems (London, 1936, 8vo, original boards, without the jacket, reprint, SIGNED "Clarissa Churchill, 1938"), Guillaume Apollinaire's Choix de Poésies. Introduction by C. M. Bowra (London, Horizon, 1945, 8vo, frontispiece portrait of Apollinaire by Picasso, original cloth), Jacques Prévert's Histoires. 30 Poèmes de Jacques Prévert. 30 Poèmes d' André Verdet. 31 Dessins de Mayo (Paris, 1946, 8vo, illustrations, original pictorial wrappers, ONE OF 450 COPIES, PRESENTATION COPY, the half title inscribed, "pour Clarissa Churchill, Jacques Prévert" with a small drawing of a flower around the 'o' of "Histoire") and Guillaume Apollinaire's Ombre de Mon Amour (Geneva, 1947, 8vo, plates by Juan Gris, original pictorial wrappers, inscribed [to Anthony Eden], "With my love, C[larissa], Paris, May, 1964"). (16)

AUTOGRAPH PHOTOS (mainly Male Actors, Directors, etc.): approximately one hundred and forty including RICHARD ATTENBOROUGH; ALAN BENNETT; TOM CONTI; TOM COURTNEY; ALBERT FINNEY; EDWARD FOX; JOHN GIELGUD; RUTGER HAUER; NIGEL HAVERS; THOR HEYERDAHL; MICHAEL HORDERN; JOHN HURT; DEREK JACOBI; GRIFF RHYS JONES; BURT LANCASTER; IAN McSHANE; JOHN MILLS; DUDLEY MOORE; ROGER MOORE; LAURENCE OLIVIER (2); GEORGE PEPPARD, ROBERT POWELL; MICKEY ROONEY; TELLY SAVALAS; PAUL SCOFIELD (2); ROD STEIGER (3); JAMES STEWART (2); KEIFER SUTHERLAND; MAX VON SYDOW (2); NORMAN WISDOM (2); MICHAEL YORK (2); JOHN THAW & KEVIN WHATELEY; STEPHEN FRY & HUGH LAURIE; SAM ROCKWELL & DUNCAN JONES (qty.)

Woolf, Virginia 10 works The Years. London: The Hogarth Press, 1937. First edition, 8vo, original green cloth gilt, dust-jacket by Vanessa Bell, some chipping and slight loss to jacket, hinges split;Flush. New York: Harcourt, Brace and Company, 1933. First American edition, 8vo, original brown cloth, without dust-jacket;Roger Fry, a biography. London: The Hogarth press, 1940. First edition, 8vo, original green cloth gilt, a little loss and tearing to dust-jacket;Between the Acts. New York: Harcourt, Brace and Company, 1941. First American edition, 8vo, original blue cloth gilt, without dust-jacket;The Death of the Moth. London: The Hogarth Press, 1942. Second edition, 8vo, some chipping and slight loss to dust-jacket;The Moment, and other essays. London: The Hogarth Press, 1947. First edition, 8vo, original red cloth gilt, some slight loss to dust-jacket spine;The Captain's Death Bed. London: The Hogarth Press, 1950. 'Uniform edition', 8vo, original green cloth gilt, dust-jacket price-clipped;A Writer's Diary. London: The Hogarth Press, 1953. First edition, 8vo, original orange cloth, dust-jacket only very slightly chipped;The Waves. London: The Hogarth Press, 1955. Eighth impression, 8vo, original green cloth gilt, some minor chipping to dust-jacket;Granite & Rainbow. London: The Hogarth Press, 1958. First edition, 8vo, original blue cloth gilt, torn dust-jacket with some loss

NO RESERVE Bloomsbury Group.- A Collection of 25 art catalogues, covering Duncan Grant, Vanessa Bell, Roger Fry, Dora Carrington, and others, illustrations, original wrappers, some light creasing, v.s., 1942-84.

Alfred Wolmark, Polish/British 1877-1961 - Flowers in a vase with a bowl, 1943; oil on canvas board, signed and dated on the reverse 'Alfred A Wolmark 1943', 40.3 x 30.3 cm (ARR) Provenance: Rena Behrman and thence by descent Note: Rena Behrman (1909-2017) helped to aid the escape of more than 1000 Jewish refugees from Europe to Britain during the Second World War. Items from her collection were donated to the British Museum. Wolmark was famed for his bold colour palette, influenced by French Modernism, and in an early exhibition in the 1910s at the International Society of Artists, his work was placed beside Vincent Van Gogh, as the only artist of comparable intensity. Wolmark also exhibited at the influential 'Manet and the Post-Impressionists' exhibition at the Grafton Gallery in 1910, organised by Roger Fry. Wolmark has been referred to as the 'father' of the Whitechapel Boys. He was the only artist to be included in both the Whitechapel Art Gallery's 1906 'Jewish Art and Antiquities Exhibition' and in David Bomberg and Jacob Epstein's 'Jewish Section' at the 1914 exhibition 'Twentieth-Century Art: A Review of Modern Movements'. 

A VERY LARGE ARCHAIC JADE AXE BLADE, DAONeolithic PeriodThe long blade skilfully rendered with a crisp thinness, of trapezoid shape, the cutting edge very gently curved and marked with a subtle bevelled edge, the blade drilled with three apertures along the upper edge with a larger one toward one end and lower down, the stone of pale green tone with russet and milk-white veins, fitted box. 38.5cm (15in) long. (2).Footnotes:新石器時代 玉刀Provenance: Charles Vignier (1863-1934) Baron Klaus-Detlof von Oertzen (1894-1991) and Baroness Irene von Oertzen (1908-2007) Roger Keverne Ltd., LondonA British private collection, acquired from the above on 21 May 2009Published, Illustrated and Exhibited: S.Howard Hansford, Jade - Essence of Hills and Streams, Johannesburg, 1969, no.A34, p.42來源：Charles Vignier（1863-1934）舊藏Klaus-Detlof von Oertzen男爵（1894-1991）和 Irene von Oertzen （1908-2007）女爵舊藏 倫敦古董商 Roger Keverne Ltd.英国私人收藏，2009年5月21日從以上處購得展覽著錄： S.Howard Hansford, 《Jade - Essence of Hills and Streams》, 約翰內斯堡, 1969年, 編號A34, 第42頁Charles Vignier (1863-1934) was a Swiss-born poet, writer, collector, and dealer in antiquities. He was the expert on Asian art at the Hôtel Drouot, Paris, and was a key figure in introducing early Chinese art and, later, African art to avant-garde collectors in Paris, including Henri Matisse and Roger Fry. Compare with a related jade blade, Xia dynasty, illustrated in the Compendium of Collections in the Palace Museum, Beijing, 2011, pp.24-25, no.3. See also a Longshan jade blade with a slightly curved cutting edge illustrated in The Complete Collection of Jades Unearthed in China, vol.14, Shaanxi, 2007, pl.8; and a blade attributed to the Shenmu Culture in the collection of the Harvard Art Museums, illustrated by J.F.So, Early Chinese Jades in the Harvard Art Museums, New Haven, 2019, no.6B.For further information on this lot please visit Bonhams.com

(Wood Lea Press, Private Press), Jeremy Greenwood, 2 titles : 'The Graphic Work of Edward Wadsworth', Woodbridge, The Wood Lea Press, 2002, limited edition, one of 450 copies, profusely illustrated throughout as called for, folio, original black and white decorative boards based on a Wadsworth design, prospectus and errata slip loosely inserted, original slipcase, 'Omega Cuts', Woodbridge, The Wood Lea Press, 1998, limited edition, one of 450 copies, profusely illustrated throughout as called for, several ills. tipped in/folding, ills. after Henri Gaudier Brzeska, Vanessa Bell, Roger Fry, E. McKnight Kauffer, Edward Wadsworth and other artists associated with the Omega workshops and the Hogarth Press, folio, original cloth, prospectus loosely inserted, original slipcase (2)

NO RESERVE Tucholsky (Kurt) Chaim Soutine (1893-1943), 2 vol., frontispiece, illustrations, original cloth, fractional bumping to spine extremities, dust-jackets, slight creasing to edges, slipcase, a little rubbed, 1993 § Handley-Read (Charles) and Eric Newton. The Art of Wyndham Lewis, first edition, frontispiece, plates, previous owner's ink inscription, original cloth, slight bumping to spine extremities, dust-jacket, one or two small tears to top edge, creasing to edges, 1951 § Fry (Roger) Chinese Art, colour frontispiece, plates, original cloth, slight bumping to corners and spine extremities, dust-jacket, areas of loss to edges, a little rubbed and creased, 1935 § Stephens (Chris) St Ives: The Art and the Artists, plates and illustrations, original boards, slight bumping to spine extremities, 2018; and others art and art reference, v.s. (c.60)

Roger Fry (1866-1934)Landscape at Vencesigned and dated 'Roger Fry '21' in pencil l.r., watercolour41 x 31.5cmCondition ReportFramed: 63.5x 53.5cmThe paper is very slightly rippled but the work appears to be in otherwise good condition. Unexamined out of glazed frame.

Brian Sewell signed FDC. 20th Century Art Portrait of Nina Hamnett Roger Fry 1866 - 1934 Double postmarked 11th May 93 Benham Cover. Good condition. All autographed items come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

PRIVATE PRESSBUTCHER (DAVID) The Whittington Press: A Bibliography 1971-1981, with an introduction and notes by John Randle, number 36 of 95 specially-bound copies with additional specimens, from an edition limited to 320, illustrations, folding type specimen, 50 tipped-in specimen pages, original vellum-backed marbled boards, t.e.g., slip-case, folio, Andoversford, Whittington Press, 1982--MORRIS (WILLIAM) The Story of Cupid and Psyche, with illustrations designed by Edward Burne-Jones, mostly engraved by William Morris, 2 vol., number 125 of 270 copies from an edition limited to 500, illustrations, original cloth-backed patterned-paper boards, morocco gilt labels on spines, single cloth slip-case, folio, London & Cambridge, Clover Hill Editions, printed at the Rampant Lions Press, 1974--Sermons by Artists. Paul Nash, David Low, Robert Gibbings, Eric Kennington, Leon Underwood, Stanley Spencer, Edmund Sullivan, Roger Fry, Will Dyson, Percy Smith, number 45 of 300 copies, frontispiece, original morocco-backed patterned boards, 8vo, Golden Cockerel Press, 1934--FRY (CHRISTOPHER) Root & Sky. Poetry from the Plays of Christopher Fry, number 136 of 220 copies, signed by the author and artist, etched frontispiece and plates by Charles Wadsworth, original cloth-backed patterned boards, uncut, slip-case, 4to, Cambridge, Rampant Lions Press, 1975--COX (MORRIS) Poems 1970-1971, number 20 of 50 copies, printed in black and colours on Japanese handmade paper, with reverse/direct offset prints from leaves, stalks, gesso etc. printed in colours, original boards, Gogmagog Press, 1972--SHAKESPEARE (WILLIAM) Venus and Adonis, number 189 of 275 copies, title vignette and 8 wood-engravings by Horace Walter Bray, original marbled cloth with gilt raven design, folio, Raven Press for Harrow Weald, 1931--LOWELL (ROBERT) The Voyage and other versions of poems by Baudelaire, number 14 of 200 copies signed by the author and artist, full-page illustrations by Sidney Nolan, some colour, publisher's cloth, transparent dust-jacket, slip-case, 4to, Faber & Faber,1968--AYLING (ALAN) & others. A Folding Screen. Selected Chinese Lyrics from T'ang to Mao Tse-tung, one of 200 copies signed by the author and translator, illustrations by Fei Ch'eng Wu, original patterned cloth, t.e.g., others uncut, small folio, Whitington Press, 1974 (9)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

Walter Richard Sickert ARA, British 1860-1942 - The Church of the Barefoot Friars, Venice, 1895-96; ink and watercolour on paper, 38 x 31 cmProvenance: Sir Augustus Daniel; The Leicester Galleries, London (according to the label attached to the reverse of the frame); The Lord Cottesloe, purchased from the above in 1951 and thence by descent Exhibited: National Gallery, London, 'British Painting Since Whistler', 1940, reg. no.548; The Leicester Galleries, London, 'The Collection of Sir Augustus Daniel', June 1951, no.25; Royal Scottish Academy, Edinburgh, Scottish Committee of the Arts Council, An exhibition of Paintings and Drawings by Walter Sickert, January 1953, lent by the Hon John Fremantle (his name until 1956 when he inherited the title 4th Baron Cottesloe on the death of his father), cat.89; The Arts Council of Great Britain, 'Sickert: Paintings and Drawings' touring exhibition: The Tate Gallery, London, 18th May - 19th June 1960, Southampton Art Gallery, 2nd - 24th July 1960 and Bradford City Art Gallery, 30th July - 20th August 1960, cat. no.92; Wildenstein & Co. Ltd., 'Venice Rediscovered', 8th November - 15th December 1972, cat. no.43 Literature: Wendy Baron, Sickert, Phaidon, 1973, p.314 cat.91 Wendy Baron, 'Sickert: Paintings and Drawings, Yale University Press, 2006, p.222 cat.108.1 (wrongly listed as 'squared') Note:this work has an extraordinary provenance and exhibition history, being owned previously by Sir Augustus Daniel KBE (1866-1950), the curator of the National Gallery, London, from 1929-1933. Daniel worked closely with Roger Fry and was responsible for the purchase of the 'Wilton Diptych'. The later owner, The Lord Cottesloe (1900-1994), was also highly involved with the arts, acting as Chairman of the Arts Council of Great Britain from 1960-65. The Cottesloe theatre at the National Theatre in London is named in his honour. This work was painted in Venice, where the artist visited on several occasions between 1895 and 1904. His Venice church scenes are amongst the most popular and celebrated of his career. There is a related oil by the artist of the same interior, which is illustrated in Wendy Baron 'Sickert: paintings and drawings, Yale University Press, 2006, p.223 along with another study of the church. One of the two other studies of the church is now in the collection of Bristol Museum & Art Gallery.With thanks to Dr. Wendy Baron for her assistance in the cataloguing of this work.

Selection of Bloomsbury Group books, including: Roger Fry, 'Vision and Design' (London: Chatto and Windus, 1957), Clive Bell, 'Art' (London: Chatto and Windus, 1957), E. M. Forster, 'Goldsworthy Lowes Dickinson' (London: Edward Arnold and Co., 1934), and Quentin Bell, 'Bloomsbury' (London: Weidenfeld and Nicolson, 1968). (4)

Roger Fry - 'Saxon Sydney-Turner', pen with ink and pencil, artist's name and title to The Bloomsbury Workshop label verso, 32cm x 23cm, within a silvered frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Hogarth Press: Fry, (Roger) 'A Sampler of Castile', Richmond 1923. Untrimmed pages 4to, decorated boards plus a typed anthology of 'Unpublished Poetry and Prose by various Writers' plus a typed script 'Tragedy in Three Acts' adapted from Tennyson, 49pp blue cloth plus a bound copy of 'The Gate' Magazine 1931, half blue calf plus two further titles, b/ps (6)